Germany’s new emerging artist Daniel Harms has his next solo exhibition in İstanbul, in the vibrant Karakoy-Tophane district. “A tour de force through various styles of alternative art and rock music.” says Christoph Tannert in his article about Daniel Harms.(you may find the full article below the pictures.)
The exhibiton will be running between March 6 – April 17, 2014 at BAP//ISTANBUL – the Istanbul office of BERLINARTPROJECTS.
You may visit http://bapistanbul.com/ to get further info about the details of the exhibiton.


Daniel Harms

Daniel Harms

Daniel Harms

To have a better insight of this young gifted artist you may like to read the below article by Christoph Tannert:

“Here we have an artist stepping on the throttle. Full speed. A tour de force through various styles of alternative art and rock music.

Daniel Harms, born 1980 in Hamburg, Germany, is expanding his pictorial reservations with the gesture of heavy Metal. He was active, from 1993 to 2007, as a guitar player in Hamburg bands like “Time has come” and “Man without God”. Some texts, hard as a steam hammer, with a philosophical gesture are his. With Heavy Metal you inevitably rub up discourse-obsessed Hamburg the wrong way. Daniel Harms has been living in Berlin since 2007.

His works of 2012 and 2013 were done with acrylic, oil pastels and crayons, and charcoal on canvas. Some of them look sarcastic. Others embody the fending off of emotions? Pain? The baring of teeth. Grinning. Room for interpretations. Curses leading to the confession: “Ignorance is bliss.” Harms can forego subtle-mindedness. The paint is squeezed directly from the tube.

In his pictorial design the line is predominant. Sometimes his eagerness to paint draws its inspiration from the world of “Batman” and “Spiderman” comic strips, sometimes from the painting of children. Then again the breaking of rules comes via a refinement of broken hearts, and, indeed, the form of the heart very often tries to be a gatekeeper of ultrasensitive true feeling.

The way Harms unleashes his stockpile of lines and makes it swing on a gut-level one can see that he is bent for authenticity. Yet he knows that this, despite all the techniques of collage, has to be wishful thinking. Therefore Harms stages the artificiality of making marks. What’s special in his images is his success in depicting authentic stirrings of the soul this way. At the same time, these images constitute aesthetic constructs, not mimicking spellings of life, which, in turn, would unfold by experiences.

Sharpening of meaning is indicated by arrow symbols. He is fascinated by the “magical power” of the images of the Dresden “Brücke” artists, their “happy-go-lucky ways and authenticity”. (1)

The richness in detail of the art of Daniel Harms culminates in scatterings of text, providing a diary-like foundation of the still young stock of images. What he confides to the canvas has a short-clocked life span. They are impressions, aphorisms. The artist rapports. Exclamations like “unfettered”, “pain”, “chaos”, and “help” make for a playful connection of beauty and shock, breathtakingly intertwined and rendered chokingly expressive, without, however, wanting to break traditions in any way – just simply young men’s convulsions.

Harms’ annotative style, the stirring in his own chaos of feelings and the look at the fate of close friends hasn’t got anything pathetic, but he takes it dead serious, especially when there are romantic fits oscillating between depression and wit.

Obsessive, labyrinthine, fascinating like the jungle: It is rare for an artist to match his own work so closely like Daniel Harms in his most recent images, which have a poetic core of glow. Sometimes things seem worn out. At other times there is power and existential constancy.

These images never are euphoric in any place. In high spirits, yes. Some major keys point at optimism, but cheerfulness? No. They stage a barrage of guitar music against the evil in the world just like he did it as a musician in some rock bands before becoming a painter. He carries us along with his original samples and absurd breaks. And, if every now and then a quickly noted sentence goes awry, it’s not a big deal. Platitudes can, on the level of kitsch, wonderfully be welded to artistically contorted snippets of the presence. Daniel Harms walks on a narrow ridge. But successfully so.”

Christoph Tannert



(1) Daniel Harms in a studio conversation with the author, Berlin, October 18th, 2013

Translation: Mason Ellis Murray


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